BHARATANATYAM 

The name Bharata Natyam is of relatively recent origin when performers like Rukmini Devi revived the dance in the 20th century. The original names of Bharata Natyam were Sadir, Chinnamelan and most commonly Dasi Attam. A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra. The word Bharatnatyam combines "Bhavam" meaning expression, "Raga" meaning music, "thalam" meaning rhythm and natyam means dance.

Dance tradition

One of the 81 Bharata Natyam dance positions carved on the outer wall of the upper storey of Peruvudaiyar Koyil, Thanjavur. completed in 1010.

Surviving texts of the golden age of Tamil literature and poetry known during the Sangam period of ca. 3rd century BCE to c. 4th century CE, such as the Tolkappiyam , as well as the later Silappadikaram , testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played major roles.^[8]

Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers,apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharata Natyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.

In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharata Natyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya). "Natya" portrays a character and "Nritya" can be seen as a type of story telling, using lots of hand gestures and emotions.

Tamil Nadu, especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharata Natyam and also completed the process of re-editing the Bharata Natyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharata Natyam in Tanjore. The dance forms can be big or small.am meaning dance.

Items

Bharata Natyam dance performed by Rama Vaidyanathan at the auditorium of the Guimet Museum on June 6, 2009

Typically a performance includes:

1.Alaripu

A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance. Alaripu is performed in different jatis. Tishra, Mishra, Chatushra, Sankirna are the different types of jatis. 

2.Kautuvam

Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables sung for jathis. 

3.Ganapati Vandana

A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See also Pushpanjali

todayamangalam

a starting dance in which we show respect towards the god. This item was adopted from the karnatic music margam.A beautiful example of a todayamangalam is "jayajankaki Ramana" 

4.Jatiswaram or Jathiswaram

An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body. Here the Dancer displays the Korvai in a rhythmic form. Jatiswaram or Jathiswaram brings out three aspects of dance: unity of music, rhythm and movements. 

5.Shabdam

The dancing is accompanied by a poem or song with a devotional or amorous theme. Shabdam is usually depicting graceful movements in a story or a poem 

6.Varnam

The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover. 

7.Padam

Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited. 

                                                                                                        8.Stuti

Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra

9.Koothu

Item containing a lot of dramatic elements.

10.Javali

Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava.

  
11.Tillana

The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer. 

12.Angikam

This is a devotional song on Lord Shiva and an item dance in Bharata Natyam. It can also be performed in byapti slow motion. The words for the shloka are " Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradhi, Tvam Numah Satvikam Shivam"

Other aspects :-

1.Jewellery:

Bharatanatyam dancers wear a unique set of jewelry known as "Temple Jewelry" during the performance.

Dancers wear anklets made of rope or leather with rows of sleigh-like (traditionally copper) bells attached on the anklet. The dancer's talent is judged (along with style and presentation) by the amount of ringing heard and the number of bells on the anklet. The less ringing heard from the anklet the better the dancer, who is seen to have control and fluid movement. Typically, beginners have 1-2 rows, intermediate dancers have 3 rows, and advanced dancers have 4-5 rows. 

2.Costume:

From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharata Natyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (cf.aura), in the material world.

3.Music:

The accompanying music is in the Carnatic style of South India. 

4.Ensemble:

Mostly, South Indian instruments are used in the ensemble. These include, the mridangam (drum), nagaswaram (long pipe horn made from a black wood), the flute, violin andveena (stringed instrument traditionally associated with Saraswati, the Hindu goddess of the arts and learning).